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Paper explores the relationship between artwork created during the Renaissance in Italy and in New Spain 150 years later.
Physical Description
11 p.
Notes
Abstract: The following paper explores the relationship between artwork created during the Renaissance in Italy and in New Spain 150 years later. Simon Pereyns’ Virgen del Pardon and Raphael’s La Belle Jardinière are explored through visual, as well as contextual, analyses to provide evidence for a connection between the two works that is more significant than a similarity of figurative content alone. It was Raphael who helped to establish the Italian Renaissance tradition and artists like Pereyns who attempted to recreate the style and effect for their own purposes. The research on the artworks serves to show that socially and politically, the work of Pereyns and Raphael served similar purposes for the church, as well as the crown.
This article is part of the following collections of related materials.
The Eagle Feather
Launched in 2004 by UNT's Honors College, The Eagle Feather was an interdisciplinary undergraduate research journal that promoted the work of students and their faculty mentors. The Eagle Feather was published annually until 2017 when it transitioned into the North Texas Journal of Undergraduate Research.
This collection presents scholarly and artistic content created by undergraduate students. All materials have been previously accepted by a professional organization or approved by a faculty mentor. Most classroom assignments are not eligible for inclusion. The collection includes, but is not limited to Honors College theses, thesis supplemental files, professional presentations, articles, and posters. Some items in this collection are restricted to use by the UNT community.